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constructed； and in its meter。 As regards scale or length； we have
already laid down an adequate limit： the beginning and the end must be
capable of being brought within a single view。 This condition will
be satisfied by poems on a smaller scale than the old epics； and
answering in length to the group of tragedies presented at a single
sitting。
Epic poetry has； however； a great… a special… capacity for enlarging
its dimensions； and we can see the reason。 In Tragedy we cannot
imitate several lines of actions carried on at one and the same
time； we must confine ourselves to the action on the stage and the
part taken by the players。 But in Epic poetry； owing to the
narrative form； many events simultaneously transacted can be
presented； and these； if relevant to the subject； add mass and dignity
to the poem。 The Epic has here an advantage； and one that conduces
to grandeur of effect； to diverting the mind of the hearer； and
relieving the story with varying episodes。 For sameness of incident
soon produces satiety； and makes tragedies fail on the stage。
As for the meter； the heroic measure has proved its fitness by
hexameter test of experience。 If a narrative poem in any other meter
or in many meters were now composed； it would be found incongruous。
For of all measures the heroic is the stateliest and the most massive；
and hence it most readily admits rare words and metaphors； which is
another point in which the narrative form of imitation stands alone。
On the other hand； the iambic and the trochaic tetrameter are stirring
measures； the latter being akin to dancing； the former expressive of
action。 Still more absurd would it be to mix together different
meters； as was done by Chaeremon。 Hence no one has ever composed a
poem on a great scale in any other than heroic verse。 Nature herself；
as we have said； teaches the choice of the proper measure。
Homer； admirable in all respects； has the special merit of being the
only poet who rightly appreciates the part he should take himself。 The
poet should speak as little as possible in his own person； for it is
not this that makes him an imitator。 Other poets appear themselves
upon the scene throughout； and imitate but little and rarely。 Homer；
after a few prefatory words； at once brings in a man； or woman； or
other personage； none of them wanting in characteristic qualities； but
each with a character of his own。
The element of the wonderful is required in Tragedy。 The irrational；
on which the wonderful depends for its chief effects； has wider
scope in Epic poetry； because there the person acting is not seen。
Thus； the pursuit of Hector would be ludicrous if placed upon the
stage… the Greeks standing still and not joining in the pursuit； and
Achilles waving them back。 But in the Epic poem the absurdity passes
unnoticed。 Now the wonderful is pleasing； as may be inferred from
the fact that every one tells a story with some addition of his
knowing that his hearers like it。 It is Homer who has chiefly taught
other poets the art of telling lies skilfully。 The secret of it lies
in a fallacy For； assuming that if one thing is or becomes； a second
is or becomes； men imagine that； if the second is； the first
likewise is or becomes。 But this is a false inference。 Hence； where
the first thing is untrue； it is quite unnecessary； provided the
second be true； to add that the first is or has become。 For the
mind； knowing the second to be true； falsely infers the truth of the
first。 There is an example of this in the Bath Scene of the Odyssey。
Accordingly； the poet should prefer probable impossibilities to
improbable possibilities。 The tragic plot must not be composed of
irrational parts。 Everything irrational should； if possible； be
excluded； or； at all events； it should lie outside the action of the
play （as； in the Oedipus； the hero's ignorance as to the manner of
Laius' death）； not within the drama… as in the Electra； the
messenger's account of the Pythian games； or； as in the Mysians； the
man who has come from Tegea to Mysia and is still speechless。 The plea
that otherwise the plot would have been ruined； is ridiculous； such
a plot should not in the first instance be constructed。 But once the
irrational has been introduced and an air of likelihood imparted to
it； we must accept it in spite of the absurdity。 Take even the
irrational incidents in the Odyssey； where Odysseus is left upon the
shore of Ithaca。 How intolerable even these might have been would be
apparent if an inferior poet were to treat the subject。 As it is；
the absurdity is veiled by the poetic charm with which the poet
invests it。
The diction should be elaborated in the pauses of the action；
where there is no expression of character or thought。 For； conversely；
character and thought are merely obscured by a diction that is
over…brilliant
POETICS｜25
XXV
With respect to critical difficulties and their solutions； the
number and nature of the sources from which they may be drawn may be
thus exhibited。
The poet being an imitator； like a painter or any other artist； must
of necessity imitate one of three objects… things as they were or are；
things as they are said or thought to be； or things as they ought to
be。 The vehicle of expression is language… either current terms or； it
may be； rare words or metaphors。 There are also many modifications
of language； which we concede to the poets。 Add to this； that the
standard of correctness is not the same in poetry and politics； any
more than in poetry and any other art。 Within the art of poetry itself
there are two kinds of faults… those which touch its essence； and
those which are accidental。 If a poet has chosen to imitate something；
＇but has imitated it incorrectly＇ through want of capacity； the
error is inherent in the poetry。 But if the failure is due to a
wrong choice… if he has represented a horse as throwing out both his
off legs at once； or introduced technical inaccuracies in medicine；
for example； or in any other art… the error is not essential to the
poetry。 These are the points of view from which we should consider and
answer the objections raised by the critics。
First as to matters which concern the poet's own art。 If he
describes the impossible； he is guilty of an error； but the error
may be justified； if the end of the art be thereby attained （the end
being that already mentioned）… if； that is； the effect of this or
any other part of the poem is thus rendered more striking。 A case in
point is the pursuit of Hector。 if； however； the end might have been
as well； or better； attained without violating the special rules of
the poetic art； the error is not justified： for every kind of error
should； if possible； be avoided。
Again； does the error